interpretation of chikkaath paintings

In most of my painting as a primary source, I have influenced by in general traditional style of painting and in particular with the paintings of Aminbavi. Aminbavi is in the dist of Dharwad, where paintings especially one can view at Santheswara Matt. Probably time of Ca.1875 A.D. In Santheswara Matt paintings were prominently done on wooden panels than which are placed according to Architectural design. Paintings of Aminbavi are very much similar to other miniatures tradition as such Jain and Rajasthani in its approach towards pictorial surface, flat background and religious protagonists as such stories of Krishna Arjuna, Shiva penacing of Manmata Vijaya, Saraswathi also includes secular colonial themes.

In my earlier phase of influence gone through of practicing its style, color, composition and other pictorial aspects by later times I concentrated on Contemporary Visual Culture. Most of my recent paintings includes both Contemporary and Mythical visuals. In today’s society, one is able to see the co-existence of tradition as professional existentialism, for Eg Shanimahatama, Hanuman and like others. World is like a huge stage in which we all playing characters of our experience , mine use of pictorial surface negates the singal point view as more when the visual communication are co-existed in multifaceted directions. It is an excitement to both as a viewer of painting and partially part of painted especially it is ‘ Post Colonial India in the age of Globalization , Indian customs, traditions, Life styles, manner, is performance of Past and Present and change and diffarance , is that dual situation same as to my paintings as inside as a outside Visualization.